„When Salles returns to the footage 13 years later, he does not return to finish the film he never completed, but to make a different film—a film that looks at his own blindness, how his desire to make a film obstructed his ability to see and how his own class privilege stood between him and his “character.” It is only by looking at the unwanted clips that would have ended up on the cutting room floor that Salles is able to see this deeper “truth”: The four takes of Santiago reciting a poem, the cinematographer shouting instructions to her subject from behind the lens, the camera being turned off just when Santiago is about to say something that at the time seemed unimportant. It is by looking at the outtakes of the original footage that Salles deconstructs the myths of documentary filmmaking and makes a film that is as much about him as it is about Santiago.“ (Natalia Almada: João Moreira Salles’ ‚Santiago‚. In: documentary.org)